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Saint Mena extends his arms and raises his gaze to Heaven, refusing to worship the graven idol presented to him at the left of the composition. As a result, he was martyred and decapitated. His suffer [+]
On August 29, 1626, King Philip IV’s painter, Vicente Carducho (ca. 1576-1638), signed a contract for the creation of a cycle of paintings to celebrate the founding of the Carthusian Order by Saint Br [+]
A sketch for a ceiling at Madrid´s Royal Palace, painted in 1794. Bayeu used grisaille technique: a monochrome depiction in shades of gray and chestnut brown. The Spanish Monarchy is represented by an [+]
Esta pintura ha sido relacionada con Durero (1471-1528) y con Lucas de Leiden (1494-1533). Supone un sobresaliente ejercicio de estilo que manifiesta su atenta observación de originales alemanes del s [+]
Christ returned to life, triumphant alongside the sarcophagus that held his body for three days after his death on Golgotha, was a frequent subject in Correa´s work. The retable for the convent of the [+]
Masip depicts this fourth-century Roman saint´s second martyrdom, when, after having been condemned to be burned at the stake, the flames miraculously failed to touch her body and she was finall [+]
Lucifer was one of God´s favorite angels. He was expulsed from Heaven when he rebelled against His power. To represent the subject, Esquivel chose the moment when, with a stern expression, Saint Micha [+]
This work was part of a series of canvases with scenes recalling how the people of the Iberian Peninsula resisted Roman domination. The idea for this series grew out of a patriotic impulse against the [+]
This work is a magnificent example of works from the middle period of Luca Giordano, the Italian artist known in Spains as Lucas Jordán. It shows the decorative character that predominated in Italian [+]
Philip II was Titian’s most important patron, and the pair’s artistic relationship was one of the most fecund of the Renaissance. They met twice while Philip was still a prince, in Milan (December 154 [+]
The first documentation of Diego Velazquez´s Mars is from 1701-03, when it appeared in the inventory of paintings at the Torre de la Parada, the royal hunting pavilion on the outskirts of Madrid. The [+]
This religious scene with its life-size figures, is treated in the sober manner usually applied to scenes from Roman history. It was the first major painting produced by Madrazo whilst training in Par [+]
Jerónimo Vich y Valterra (1459-1535) was Spain’s ambassador to Rome between 1506 and 1521, under the reigns of Ferdinand the Catholic and Charles V. Vich commissioned Sebastiano del Piombo to p [+]
The scene, with a distinctly genre flavour, depicts a passage from Don Quixote by Miguel de Cervantes (1547-1616). The main figure, wearing armour, kneels awaiting to be dubbed a knight; the amusing f [+]
This is a sketch for a no-longer extant painting on canvas intended to decorate a ceiling in a building of the imperial court of Russia, whose memory is preserved in an engraving made by Giambattista& [+]
The Chronological Series of the Kings of Spain was a museum project planned in 1847 by José de Madrazo to adorn four of the new rooms at the Real Museo de Pinturas (Royal Museum of Paintings), [+]
The island of Saint Christopher (modern-day Saint Kitts) in the Lesser Antilles was invaded by the English and French and recaptured by Spanish forces in 1629. The Spanish expedition was led by Fadriq [+]
This preparatory sketch for the large-scale canvas painted by Madrazo in Rome (also on display in this room) reveals various differences with respect to the final composition. Madrazo gave more space [+]
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